#更新# 此《The Walls and Gates of Peking》（北京的城墙和城门）是瑞典学者喜仁龙 (Osvald Siren) 在1920、1921年访问中国，考察过北京当时尚存的城墙和城门后的著作。全书共分八章，内收录照片109幅，测绘图纸50幅。此本为1924年伦敦John Lane出版社发行。介绍下载：

此《中国北京皇城写真全图》（The Imperial Palaces of Peking）由瑞典学者喜仁龙编著。全书共三卷，收录了图版274幅，14幅建筑平面图。全面展现了紫禁城等建筑的结构与装饰特点，以及中南海、北海、颐和园、圆明园等皇家园林的原貌。此英文本出版于1926年。介绍下载：

美东时间周三晚上9点、北京时间周四上午9点，不明白播客邀请《纽约时报》记者傅才德Mike Forsythe @PekingMike 听他讲述郭文贵在美国的高光时刻，他参加的每一场庭审以及周一宣判时法庭上的戏剧场面。对于郭文贵与这起案件的庭审，你想了解什么？欢迎向嘉宾提问： @LiYuan6

麦肯锡，一个商业怪胎：同时为利益冲突的双方服务。一边拿着五角大楼数千万美元合同，另一边却在为独裁国家提供咨询；一边为医药监管机构(如FDA)服务，一边又在为被监管的制药巨头出谋划策。纽约时报著名记者@PekingMike的名作《当麦肯锡来到小镇》被制作成8分钟视频。

欧洲算力赛道可以分成综合机房托管（IDC）、本土公有云AI算力、专用HPC/AI算力厂商、国家级超算运营方四大类，头部企业（截至2026年）： 一、欧洲体量最大的中立IDC机房（机柜、电力、互联能力最强） 主打算力园区、整机柜租赁、大客户托管，是AI算力最核心的载体 1. Digital Realty（数字地产，美国上市，欧洲第一大IDC） 收购欧洲老牌Interxion后坐稳龙头，欧洲64个数据中心，总电力容量约566MW，法兰克福、阿姆斯特丹、伦敦拥有欧洲顶级算力园区，面向微软、Nebius、AI企业做批发算力机柜，欧洲高密度液冷算力节点最多。 2. Equinix（艺恩尼克斯） 欧洲93个数据中心，侧重互联网交换、金融与云互联，欧洲 peering 网络最强，适合需要低时延的算力调度、跨境算力组网，高端政企算力托管首选。 3. Vantage Data Centers、Global Switch 主攻英国、法国、德国大型超算园区，承接海外AI公司欧洲落地自建机房需求。 二、欧洲本土全栈云厂商（可直接租用GPU算力，主打欧盟数据主权） 欧美云市场格局：AWS、微软Azure、谷歌云占据欧洲70%公有云份额；下面是欧洲本土自研算力云，合规性优势极强 1. OVHcloud（法国，欧洲本土第一大云） 欧洲最规模化的本土云计算企业，9个国家自建43个数据中心，裸金属、H100/L4 AI算力齐全，性价比显著高于美国大厂，垂直自研服务器、散热体系，是欧洲商用大模型最常用的算力平台。 2. Nebius Group（荷兰注册，原Yandex拆分） 当前欧洲增速最快的AI算力巨头，手握欧洲稀缺的2.5GW电力配额，批量部署英伟达H100/Blackwell集群，拿到微软、Meta大额AI算力长单，主打大规模训练级算力，定位欧洲版CoreWeave。 3. Hetzner（德国） 性价比标杆，德国、芬兰自建机房，GPU服务器、托管机价格极低，中小企业、量化、推理算力使用最多，PUE能耗控制优秀。 4. 德国电信 T Cloud 欧盟国家级主权云，面向工业、政务、医疗等高监管行业布局AI算力，计划2026年底对标美国超大规模云能力，工业仿真算力优势突出。 5. Scaleway（法国伊利亚德集团）、IONOS（德国） 二线本土云，主打绿色可再生能源算力、轻量级AI推理集群，合规适配GDPR。 三、欧洲专注AI/HPC高性能算力的专业厂商（专精大模型、液冷超算） 1. Northern Data（德国上市） 欧洲老牌高性能算力运营商，从算力矿机转型AI液冷算力集群，拥有欧洲最大的专用GPU算力集群之一，主打高密度浸没式冷却，适合长周期大模型训练。 2. Eviden（原法国Atos） 欧洲本土超算整机厂商，BullSequana系列是欧盟EuroHPC计划主力机型，承建欧洲首台艾级超算JUPITER，提供政企定制HPC、科研算力整体方案。 3. WBS Power（波兰） 在建欧洲单体最大算力园区：波兰波罗的海数据中心，规划总装机3.2GW，依靠北欧风电做低成本绿色算力，面向全球AI企业做超大算力基建出租。 四、欧洲国家级顶级超算运营体系（科研、工业顶级算力） 由欧盟EuroHPC统筹，算力面向科研、气象、生物医药、工业仿真开放： • 德国于利希超算中心（运营JUPITER，欧洲首台艾级超算） • 芬兰LUMI超算、意大利LEONARDO超算、西班牙MareNostrum超算，构成欧洲最强科研算力矩阵 简单选型参考 • 租商用GPU、做大模型训练：优先 Nebius、OVHcloud、Northern Data • 机柜托管、自建算力集群：Digital Realty、Equinix • 低成本推理、中小算力：Hetzner、Scaleway • 政务、工业合规算力：德国电信T Cloud、Eviden

《吻我之前，先把灯关了》 "Turn Off the Lights Before You Kiss Me" 据专家研究分析，恐怖片和爱情动作片，好莱坞惊险片都能刺激大脑分泌多巴胺，我现在把它们都放在一起了，那是不是应该双倍快乐来了。 According to expert research and analysis, horror movies, romantic action films, and Hollywood thrillers can all stimulate the brain to release dopamine. Since I’ve combined them all together, does that mean I’m in for a double dose of happiness? grok imagine prompt: "Turn Off the Lights Before You Kiss Me" 15 seconds, 9:16 vertical format, first-person perspective, recorded on a smartphone, single continuous take. [Realistic Cinematography] The footage is captured entirely by the rear-facing camera of the smartphone held by the male protagonist; no other cameras are involved. The male protagonist holds the phone in his right hand, using the primary (1×) rear lens—providing a field of view equivalent to approximately 26mm—at 1080p resolution and 30fps. The device is positioned between his chest and chin (at a height of roughly 1.45 meters), aimed toward a woman standing in the bathroom doorway. His left hand occasionally enters the frame to operate the light switch. The smartphone itself—its body, back panel, camera module, screen, or flash—is never visible in the shot. Only the light cast by the phone onto the subject, her clothing, and the walls can be seen. There are no mirrors present; this is not a mirror-based selfie. The footage retains the raw, authentic texture of smartphone video—no beauty filters, color grading, or cinematic effects. Skin details such as pores, fine beads of sweat, stray hairs, and natural skin-tone variations are visible. There is slight digital noise in the shadows, and brief motion blur occurs during rapid hand movements or moments of physical instability. Subtle camera shake stems from the holder’s breathing and wrist movements. Changes in proximity are achieved through actual physical steps or the subject pulling the holder closer; there is no digital zooming, automated panning, reverse-angle cutting, or slow motion. The focus remains primarily on the woman’s face, with only momentary hesitation when the distance shifts abruptly—there is no persistent out-of-focus effect. [Characters and Attire] The woman in the doorway (@80130fc6-f744-4f61-9faf-f630a1eb8638) is 28 years old. Her appearance—including her black hair styled in an updo, purple floral hair accessory, earrings, long-sleeved Japanese-style (wafuku) garment in purple (@d7529a1b-8cdb-41e5-816e-c59aa4051803), and dark-colored *obi* (sash)—is consistent with the video uploaded by the user. Her clothing remains intact; the neckline stays in place, and she does not scratch her own chest or tug at her garments. Leaning slightly against the doorframe, she keeps her shoulders relaxed and lowered, her neck elongated, and her legs positioned one in front of the other—creating a natural, subtle S-curve in her posture. She gazes toward the male protagonist with half-lidded eyes and a faint, inviting smile, as if beckoning him closer. From the very beginning, her right hand holds a small pinch of fabric from the male protagonist’s left cuff. This point of contact—her right hand gripping his left cuff—is situated in the lower-left portion of the frame and must remain visible. Because she is only holding the fabric rather than clamping down on his wrist, he retains the freedom to lift his left hand and operate the light switch. Initially, her left hand is concealed between her body and the doorframe. The grayish-white fingers that appear later belong to this same hand; the creature possesses only two hands throughout the entire sequence. The real girlfriend is located in the hallway behind the male protagonist. She is present only as a voice calling out from off-screen; she is never shown on camera, and no second female face appears. 【Environment and Space】 The scene takes place at the entrance to a bathroom in an old apartment building late at night. The setting—featuring aged off-white tiles, a worn wooden doorframe, a standard wall-mounted light switch, and a towel hanging inside the bathroom—conveys the lived-in, weathered feel of an old residence, rather than a ruin. The woman is positioned slightly to the right of the frame’s center, with the open bathroom door behind her. The light switch is located on the wall to the left, approximately thirty centimeters from the male protagonist’s left hand. It is visible from the start and does not suddenly appear later. Behind the male protagonist lies a hallway. The bathroom door remains open inward; the camera angle stays consistent throughout, the door does not move on its own, and the room’s layout remains unchanged. At the start, the woman’s face is about sixty centimeters from the camera. After she gives a gentle tug on his cuff, the male protagonist shifts forward slightly, reducing the distance to approximately forty-five centimeters. The distance closes further only during the final dragging motion. 【Ambient Lighting】 At the beginning, a warm-white overhead light in the bathroom is on, illuminating the woman’s head, shoulders, and the doorway, while the hallway remains dim. The LED flash on the back of the smartphone is illuminated from the very first frame; it remains on and in the same position throughout the entire 15-second duration. Up close, the face is illuminated by the harsh, direct light of a standard mobile phone; small shadows form beside the nose and under the chin, and there are localized highlights on the fabric of the clothing—no artificial "beauty" fill lighting is applied. The only light the male lead turns off is the overhead bathroom light. Once the overhead light is extinguished, the bathroom background remains dim and does not brighten on its own. The phone’s light continues to illuminate her face and the hand gripping the sleeve cuff. The camera’s auto-exposure adjusts only slightly, failing to brighten the dark bathroom to a daylight-like state. When the "mask" (the outer layer of the face) is peeled back, it is illuminated by the same mobile phone light as the rest of the face. The space deep behind the shell remains dark, and the exposed eyeball shows only natural, subtle reflections—it does not emit its own light. [The "False Face" Effect] The horror stems from a thin, pliable, artificial layer being peeled back from within—it is not a case of natural skin being torn or a mouth stretching into an impossible, elongated shape. A grayish-white hand—with only two or three fingertips visible—emerges from the corner of her mouth, hooks onto the lower edge of the "mask," and peels half of the face upward and to the side. The "mask" has a distinct thickness and flexibility; the cheek and part of the area beside the nose fold back, rather than stretching into long, tubular, funnel-like, or tongue-like shapes. Behind the peeled-back section lies a deep, dark cavity containing a normal-sized human eye, which turns to look directly at the camera. The other half of the woman’s face remains intact, establishing the premise that there is an artificial layer on the outside, with something else concealed beneath it. There is no blood, gore, exposed muscle, black ooze, or liquid-like melting effect. The grayish hand does not reach in from off-screen; its fingertips must first emerge from within the corner of the mouth. [Strict 15-Second Timeline] 0–4 Seconds | Gripping the sleeve, an invitation to draw closer. The woman leans sideways against the doorframe, looking first into the male lead’s eyes, then glancing briefly toward the light switch on the left. With her right hand, she grasps the male lead’s left sleeve cuff—positioned at the bottom-left of the frame—and gives it a gentle tug toward herself. The fabric of the cuff pulls taut, prompting the male lead to take a small step forward; the camera moves in tandem with his approach. She lifts her chin slightly and says in a low voice: “The lights are too bright.” Her tone is intimate, with a suppressed smile playing at the corners of her mouth. There is no sign of a monstrous visage, nor does she glance toward her own mouth beforehand. Her right hand continues to hold the same spot on his sleeve; she does not shift her grip to his lapel. 4–7 seconds | Flipping the switch; the background darkens The male protagonist reaches out with his left hand toward a light switch already visible on the left side of the frame. She keeps her grip on his left sleeve, causing her right arm to extend naturally as he moves—she neither lets go nor suffers any "clipping" (graphical glitching). His fingertips press the switch, producing a distinct *click*. The bathroom overhead light goes out, and the tiles, towels, and the space behind the woman grow noticeably darker. Her face remains illuminated by the fill light from a mobile phone. The male protagonist’s left hand pulls away from the switch and returns to the space between them. The camera tilts slightly with the movement, then steadies. 7–9 seconds | A warning from behind From about two meters behind the camera, the man’s actual girlfriend calls out urgently, in an identical tone: “Don’t turn off the light!” The woman in front of him says nothing; her lip movements do not correspond to this warning. As the male protagonist begins to turn, the camera shifts slightly to the side—but the hand gripping his sleeve suddenly tightens, holding him in place. Her smile vanishes. Her eyes glance past the camera toward the space behind the man, then return to the lens. Her knuckles whiten as she grips the sleeve, causing deeper creases to form in the fabric. 9–12 seconds | Half of her face is peeled back from within Two or three grayish-white fingertips emerge from the inner corner of her mouth. The fingertips hook onto the lower edge of the "shell" of her face, slowly peeling it upward and outward. The corner of her mouth and her cheek—forming a single, thin, pliable layer—fold back together; the lips do not stretch or elongate independently. Half of the artificial face is lifted away, revealing an eye in the darkness beneath that shifts to look directly at the camera. The intact half of her face remains visible alongside the eye revealed from within. For a brief moment, the camera steadies, allowing at least half a second to take in the details: Fingers emerge from within the face; the "shell" of the face begins to fold back, revealing another eye underneath. The woman’s right hand maintains a firm grip on the man’s left cuff—she cannot let go, even as she peels back the face. The only sounds are the dry, grating friction of the mask and the man’s sudden, sharp intake of breath. 12–15 seconds | The grip shifts into a forceful tug. The man immediately grabs the woman’s right wrist—the one holding his cuff—and tries to pry it away. The point of contact is clearly visible; he does not reach for the grey, peeling fingers. The creature’s right arm suddenly retracts toward the bathroom, yanking the cuff hard. The sequence must be clear: The cuff goes taut → the man’s left arm is pulled straight → his body stumbles forward → the camera (held in his right hand) is dragged closer. The camera moves from about 45 centimeters away to roughly 15 centimeters, accompanied by a sudden dip and tilt—this is not a smooth, controlled zoom. The partially peeled-back face, the unblinking eye beneath, and the greyish-white fingers now dominate the frame. The other half of the face remains "normal," preserving its original appearance. In the final half-second, the man collides with the wooden doorframe, producing a dull thud. The camera jerks to the side; the edge of the facial shell sweeps across the lens, partially obscuring the view. The recording ends abruptly while the struggle is still underway. No fade to black, no additional dialogue, and no new creatures appear. [Ambient Audio] Captured via a mobile phone microphone: close-range speech, the friction of fabric at the cuff, the sound of a light switch, the hum of a bathroom exhaust fan, the distant ambient noise of the city, heavy breathing, and the final impact against the doorframe. The exhaust fan continues to run independently; it does not stop when the overhead light is switched off. The background sounds maintain a sense of spatial distance—they are not suddenly muted for the sake of a "jump scare." The opening line, "The light is too bright," comes from the woman in front of him. The mid-sequence line, "Don't turn off the light," clearly originates from behind the man; the woman in front does not move her lips. There is no further dialogue—no sinister laughter, voice-over narration, heartbeat sound effects, or pre-recorded horror audio cues. [Mandatory Continuity] The only camera is the mobile phone through which the audience is viewing the scene; the phone itself is never visible within the frame, nor is there any additional camera operator. The male protagonist holds the phone in his right hand; he uses his left hand to flip the light switch, then immediately grabs the monster’s right wrist. The monster’s right hand remains firmly gripping the same spot on the male protagonist’s left cuff; its left hand lifts a portion of the "false face" from underneath. Do not generate a third hand, swap left and right hands, or have the monster’s hand shift its grip from the cuff to the female protagonist’s own clothing. Once the bathroom light is turned off, it remains off; the mobile phone’s light source (fill light) stays on. The positions of the door and the light switch remain fixed. Changes in distance must be achieved through physical movement (stepping or dragging); do not use digital zoom. The "false face" should be lifted, not stretched like rubber; do not generate long tongues, tubular mouths, an elongated jaw, or a melting face.

一九七六年七月二十八日凌晨三点四十二分，唐山地震的时候，毛泽东已经病重，工作人员把他从住处抬了出来，他似乎不清楚发生了什么。一月周恩来去世，四月天安门事件之后邓小平被撤了职，华国锋当了中共中央第一副主席兼国务院总理。全国正在开展"批邓、反击右倾翻案风"运动。当天中共中央给灾区发慰问电，电报说，相信灾区人民"一定会在省、市党委、革命委员会和部队党委的领导下，在全国人民的支援下，发扬艰苦奋斗的革命精神、以坚韧不拔的毅力，投入抗震救灾斗争，奋发图强，自力更生，发展生产，重建家园"，号召灾区的党员、干部、群众和解放军"以阶级斗争为纲，深入开展批判邓小平反革命的修正主义路线、反击右倾翻案风的伟大斗争，团结起来，向严重的自然灾害进行斗争"。第二天《人民日报》登出第一篇地震新闻，标题是《河北省唐山、丰南一带发生强烈地震　灾区人民在毛主席革命路线指引下发扬人定胜天的革命精神抗震救灾》，灾情只有一句"震中地区遭到不同程度的损失"。死亡人数三年以后才公布，二十四万二千多人，重伤十六万四千多人。 地震的消息，外国政府当天就得到了。七月二十八日，美国驻北京联络处主任盖茨向华盛顿报告，在中国的美国人都安然无恙，他已原则上表示愿意提供中国人希望得到的任何援助。白宫新闻处同一天给记者准备的答问稿写着，国务院正在给盖茨拟指示，让他向中方提出，美国愿意提供中方认为合适的任何援助。七月二十九日，联合国秘书长瓦尔德海姆从日内瓦给华国锋总理发电报，说联合国准备帮助灾区人民克服这场自然灾害。同一天，英国下院开会，前首相希思提出紧急质询，问政府是不是准备向中国提供医疗物资和设备。外交大臣克罗斯兰回答，政府愿意尽一切可能帮助，驻北京大使馆头一天已奉命去问中国当局需要什么援助，比如紧急物资和医药用品。议员丘吉尔，就是二战首相丘吉尔的孙子，建议派一架大力神运输机送医疗队和药品过去，还可以派一支皇家工兵部队去帮助恢复供水。克罗斯兰说这些建议都可以考虑，但要先等中国政府的答复，他还说，过去发生这类灾害的时候，中国政府的态度一向是非常自足的，不希望西方大张旗鼓地提供援助。 七月三十日，日本外相宫泽喜一在内阁会议上报告，对中国大地震，日本将采取迅速发出救灾物资的方针，内阁通过了。外务省当天动手准备药品、衣物、帐篷，宫泽指示驻华大使小川向中国政府转达：一俟中国方面作好接受的准备，就将发送。以色列总理拉宾地震后也给华国锋发了慰问电，电报里提出愿意提供医疗和其他援助。 也是七月三十日，中国外交部答复了日本大使馆。日本共同社从北京发出的报道说，中国外交部对日本大使馆说，中国谢绝外国因华北东部地震而提供的任何援助；外交部告诉日本大使，中国不接受外国包括日本在内的任何援助，中国人民正在毛泽东主席和中国共产党的领导下抗震救灾，中国人民决心以自力更生精神克服困难。拉宾的电报在八月初被退回，附了一张便条，说北京同以色列没有外交关系，不能接受这份电报。八月二日《人民日报》发表社论《英雄的人民不可战胜》，说全国各地的医疗队和救灾物资源源运往灾区，"体现了我国人民自力更生的伟大力量和高度的共产主义风格"，"说明我们无产阶级专政的社会主义制度，具有极大的优越性"。中国驻联合国代表团把这篇社论散发给各国代表，以此谢绝了瓦尔德海姆提出的援助。八月十八日，中国驻美联络处主任黄镇在华盛顿见基辛格。基辛格说，美国已经对地震表示过同情，对中国自力更生的处理办法也表示过赞同，在今天这是一种很不寻常的态度。黄镇答，地震很严重，但在毛主席和党中央的领导下，有人民的支持，我们已经学会了克服大的困难。 地震当天，唐山机场卫生队的军医邵俊兰、汪雅莲把战备药箱全搬了出来，给伤员清创、固定、打强心针，急救药很快就紧张了，伤员越来越多，机场的各个角落都躺着人。开始手头还有强心针和绷带，后来只剩下红汞和四环素。有个八九岁的男孩哭着喊："阿姨！快救救我的哥哥吧，我的爸妈全没了，只有我哥了，你们救救他吧……"他旁边一个十二三岁的男孩满口吐血，胸前一片殷红，一看就是内脏砸坏了，正在内出血。军医后来回忆："可我们别说没有手术设备，就连止血药也已用完。孩子休克了，没法子，急慌了，给他掐'人中'。明明知道不管用，还是拚命地掐呀、掐呀，直到孩子的脑袋耷拉下来，身体越来越凉……"对尿闭的伤员没有导尿管，对骨折的人没有夹板，清创没有麻药。一个七岁的孩子头皮掀开一大块，里面全是沙子，只能用盐水冲、用刷子刷。当天晚上，解放军总医院的外科医生在机场搭起三个手术台，机场连自来水都没有，护士用煮沸的游泳池水消毒器械，医生在汽灯下开颅剖腹，没有血浆，伤员一个个在手术台上死去。手术帐篷外面有一个土坑，里面堆满截下来的胳膊和大腿。就在这几天，英国大使馆奉命去问中国需要什么援助，日本外务省在准备药品、衣物和帐篷，丘吉尔建议的医疗队、药品和工兵，英国政府说要先等中国政府的答复。 北京军区后勤部副部长刘贞找到河北省委书记刘子厚说："伤员得向外转送！这样做手术，几个月也做不完！"七月三十日，国务院决定把唐山伤员向全国十一个省市转运，到八月二十五日，一共运出去十万零二百六十三人。救人的部队是赤手空拳进去的，没有带大型机械，用小锯条一根一根锯钢筋，把预制板一小块一小块分解开。到八月七日以后，救灾部队才陆续配发吊车、电锯、凿岩机、电焊切割机。埋尸体的士兵在最初几天没有任何防护，八月一日以后才开始运到防护用品。 一九七〇年一月五日云南通海七点八级地震，死了一万五千多人。几个国家通过外交渠道表示愿意援助，周恩来在外交部的报告上批示："我们这么大的国家不需要。我们要自力更生重建家园，这是毛主席的思想。"一月九日，云南省革委会和昆明军区按周恩来"重点应放在高举毛泽东思想伟大红旗，鼓舞士气"的批示，打电话要求灾区不向国家要救济粮、不要救济款、不要救济物资，公粮照样上缴。全国各地送到灾区的，是十几万册《毛主席语录》、几十万枚毛泽东像章和十几万封慰问信。灾民在无粮、无水、无药、无衣的寒冬里大批死去，军队和军车把尸体运到山沟里掩埋。通海地震的死亡数字到二〇〇〇年三十周年纪念会上才公布。一九七五年八月河南板桥等水库垮坝，洪水淹死十万人，水退以后政府见死不救，又有十四万人死在无粮、无水、无药、无处安身的绝境中。这两次灾难，当局都封锁了消息。 一九七六年夏天，毛泽东病重，中共政治局正忙着一场权力斗争。江青、张春桥、姚文元、王洪文抓着批邓不放，邓小平的罪状之一是搞经济规划引进太多外国技术，不讲自力更生。拒绝外援的决定是这个政治局作出的，对外由外交部七月三十日答复日本大使馆，对联合国由驻联合国代表团散发社论，对灾区由率领中央慰问团的中央领导人在帐篷里讲出来，理由都是一个：自力更生。抗震救灾一开始就被放进批邓这场运动。七月二十八日的慰问电已经号召以阶级斗争为纲，深入批邓。八月十一日《人民日报》社论《深入批邓　抗震救灾》说："解放以来的历史事实证明，每当出现严重自然灾害的时候，也是两个阶级、两条道路、两条路线斗争激烈的时候。党内机会主义路线的头子，总是妄图利用自然灾害造成暂时的困难，扭转革命方向，复辟资本主义。"社论接着说："抗震救灾的现场，也是批邓的战场。我们要以批邓为动力，做好抗震救灾工作。"八月号《红旗》杂志短评《人定胜天》写道，地震造成了困难，"但是，我们必须看到，自然灾害及其所造成的困难和一切'乱子'一样，具有二重性"。九月一日，华国锋在北京的抗震救灾先进单位和模范人物代表会议上讲话，会场的巨幅标语是"深入批邓，夺取抗震救灾的新胜利！"第二天的社论要求"批判邓小平鼓吹的洋奴哲学，坚持自力更生、艰苦奋斗"。历史学者雷颐后来把那年的救灾纲领归纳成一句话："以批邓促抗震""不能以抗震救灾压革命、压批邓"，要以"抗震救灾"来证明自力更生。按这个纲领，救灾要证明的是自力更生能行、社会主义制度优越。 谢绝外援的那几天，华国锋还处理了外交部的另一件事，讲的也是国家尊严。七月三十日，北京传来还要有一次更大余震的消息，外交部长乔冠华安排各国使馆人员疏散，余震没有来，第二天华国锋打电话斥责外交部擅自行动，说这是惊慌失措，没有纪律，损害了国家尊严。两天以后外交部开始天天批判乔冠华的"严重错误"。同一天，中央慰问团的三个分团到了唐山、天津、北京，华国锋当总团长，八月初到唐山，去了开滦煤矿和唐山钢铁公司。 接受外援，外国的医疗队和救援人员就可能进灾区，死了多少人、灾区是什么样子，他们会看见，也会说出去，而这些正是当局要瞒的。地震后的几个星期里，中国报纸没有公布过一个伤亡数字，唐山的日本、法国、丹麦游客说那里被夷为平地，《纽约时报》八月二十一日写道，北京到底为什么不愿让民众知晓灾难的真实程度，是一个谜。联合国救灾协调专员办公室一九七七年五月的报告里，唐山地震那一段记的是：中国没有提出国际援助的请求，也没有给出官方的伤亡数字。一九七九年十一月，全国地震会商会议在大连开会，最后一天向到会专家通报了唐山的死亡人数。新华社记者徐学江写了一条稿子，送大会秘书长审。秘书长问他："稿件一定要今天发吗？"徐学江说一定要今天发，又补了一句，这是自然灾害造成的死亡，不是人为的，与政府没有直接关系。秘书长签了字。 迟浩田那时是北京军区副政委，北京军区抗震救灾指挥部的领导成员。多年以后他对钱钢讲起"拒援"这件事："那是我们的失策啊。"又说："但那时我们谁意识到了呢？当时中央领导人率领中央慰问团到灾区，在我们的帐篷里，他说：'外国人想来中国，想给援助，我们堂堂中华人民共和国，用不着别人插手，用不着别人支援我们！'我们当时听了很激动，鼓掌，流泪，也跟着那么喊。多少年后才知道是干了大蠢事！自然灾害是全人类的灾害，我们每年不也都向受灾国家提供那么多的援助么！" ——钱钢《唐山大地震》（特别增订本），中华书局（香港），2008年，第66—68、72—75、83、173、186—190页 ——《人民日报》1976年7月29日第1版（中共中央慰问电）；8月2日第1版社论《英雄的人民不可战胜》；8月5日第1版（中央慰问团报道）；8月11日第1版社论《深入批邓　抗震救灾》；9月2日第1、2版；1979年11月23日第4版 ——英国下院议事录，1976年7月29日，"China (Earthquake)"，vol. 916, cc. 873–875 ——白宫新闻秘书尼森档案，"Chinese Earthquake"，1976年7月28日，福特总统图书馆 ——美国国务院《美国对外关系文件》1969—1976年第18卷，第152号文件，基辛格与黄镇谈话备忘录，1976年8月18日 ——犹太电讯社，"Peking Rejects Israeli Offer to Aid Chinese Earthquake Victims"，1976年8月6日 ——联合国秘书长报告 A/32/64，1977年5月12日，第33段 ——雷颐《文革的三次地震与汶川之震》，《炎黄春秋》2008年第7期，第7—8页（《红旗》短评、救灾纲领、迟浩田回忆转引） ——徐学江《"迟到新闻"：唐山地震死亡人数的报道背后》，新华网，2006年7月28日 ——包德甫《唐山大地震之后，中国为何拒绝接受国际援助》，《纽约时报》1976年8月21日（纽约时报中文网2016年译文） ——Frederick C. Teiwes, Warren Sun, The End of the Maoist Era, M.E. Sharpe, 2007, pp. 521–522（乔冠华事件、毛泽东震时状况） ——1970年通海地震周恩来批示及云南省革委会电话指示，据通海地震相关研究转引